Michael Giacchino's Star Trek

[Charlie Brigden 7]

I still think the voiceover would have been the perfect place for the Shatner cameo.

[Jay 37,352]

Yeah,he actually did a really nice job with the voiceover. I wonder what they recorded it for - if they were actually considering using it inthe film, or if it was just for the DVD or even just for the heck ofit. I strongly doubt we'll be able to isolate it, though. I've never heard of any DVD bonus features that are in 5.1 surround. They're always in stereo, which makes extracting music significantly more difficult. You pretty much just have to either find stuff that's already clean, or try to cancel out whatever mono signals are mixed in with the music, which degrades the sound quality by nature but can completely get rid of interview dialogue and so forth if you're lucky. And unfortunately, I don't know how to do the opposite and isolate those mono signals like the Chris Pine voiceover. Is that even possible? Seems like it should be...

They definitely should have had Chris Pine read the copy at the end of the film, and not Nimoy. He's already read one at the end of the film, and the end of this film was all about young Kirk becoming captain

You never noticed that before?

After seeing the film in theaters once? Nope.

The TOS theme is also on the OST too, though

[Henry B 50]

You never noticed that before?

After seeing the film in theaters once? Nope.

The TOS theme is also on the OST too, though

Yeah, I know that... I didn't know it was in this bit of unreleased music because I'd never listened to it before.

[Jay 37,352]

Hmmm. If you want to hear unreleased music, I'd recommend cleaning out your PM box

[Henry B 50]

Ah, that's a good idea.

[Datameister 2,042]

I just did a quick test edit for the fun of it, using a recording of the YouTube audio and the beginning of "Enterprising Young Men", and it sounds good. I'm not gonna bother uploading it since the sound quality isn't great...it was really just a trial run. It's gonna work real nicely once the DVD's out.

[Jay 37,352]

Win

[Delorean90 42]

Or in KOTCS, the cue that plays while they run down the retracting spiral stairs was chopped up pretty bad in the film, but the original can be heard on the bonus disc. All kinds of cool discoveries like that.

What? I never found that anywhere. Where did you find that?

And as for the voiceover, I think it would've been good to have Pine say it, now that he's in the chair. I actually wish they had gone with the original route for the Shatner cameo. I think it would've worked really nicely.

[Datameister 2,042]

What? I never found that anywhere. Where did you find that?

Unfortunately, it's been a while since I ripped it...in fact, I never even got around to incorporating that material in my edit, since I discovered it after the fact. But it was buried beneath interviews and so forth in one of the special features, I believe. I was able to get rid of most of that, though it of course degrades the sound quality, as I've said.

And as for the voiceover, I think it would've been good to have Pine say it, now that he's in the chair. I actually wish they had gone with the original route for the Shatner cameo. I think it would've worked really nicely.

All three options work for me, honestly. I think it was nice to give Nimoy the literal last word as the last link to the original timeline, but I also think it would have made perfect sense to use the quite good Pine voiceover, and from the sound of it, the Shatner cameo would have been good, too. I guess you know you've got a good team assembled when there are three possible endings and all of 'em are good!

EDIT: Also, I'm feeling kinda bummed that I will most likely be missing out on the Blu-Ray bonus features, since I have no Blu-Ray player and don't know how to rip audio from a Blu-Ray disc anyway. In fact, are there even (relatively) easy ways to do that like with DVDs?

[Charlie Brigden 7]

EDIT: Also, I'm feeling kinda bummed that I will most likely be missing out on the Blu-Ray bonus features, since I have no Blu-Ray player and don't know how to rip audio from a Blu-Ray disc anyway. In fact, are there even (relatively) easy ways to do that like with DVDs?

I know there's a footwarmer of THE OMEN Blu-Ray isolated score around, but I don't know if it was ripped or recorded.

[OneBuckFilms 319]

The Omen footwarmer is probably unnecessary considering the Varese Deluxe Edition CD. Now THERE's a fantastic score

[Charlie Brigden 7]

The Omen footwarmer is probably unnecessary considering the Varese Deluxe Edition CD. Now THERE's a fantastic score

It is fantastic. But, for reasons unknown, the Varese is not complete.

[OneBuckFilms 319]

The Omen footwarmer is probably unnecessary considering the Varese Deluxe Edition CD. Now THERE's a fantastic score

It is fantastic. But, for reasons unknown, the Varese is not complete.

What's missing?

[Charlie Brigden 7]

What's missing?

It's not a staggering amount, but the three cues relating to the Rottweiler, the death of the Nanny, a scene where Kathy and Robert talk about Damien, the scene where the priest meets Robert in the park, the priest they visit in Italy, Kathy's death, and the funeral. Not to mention the main title, as the version of 'Ave Satani' that opens the album is actually the end credits. Overall, just under ten minutes. Technically though, even the footwarmer is not complete, as it doesn't include the film version of 'The Altar', so I'm presuming that perhaps that is lost?

[Jay 37,352]

Well that makes no sense. Wouldn't an isolated score contain the film version of every cue by definition?

[Charlie Brigden 7]

Well that makes no sense. Wouldn't an isolated score contain the film version of every cue by definition?

Not necessarily. For example, the ALIEN isolated score is Goldsmith's intended score, not that of the film itself. It's possible that they had to piece it together from different elements, and could not find that section (perhaps it was rescored late?).

[Jay 37,352]

The Alien iso scored is certainly not his intended score; Only the Intrada release presents that. The film was edited so much after scoring that you could never line up his intended score with the final film - the timing of every scene is completely different.

[Charlie Brigden 7]

The Alien iso scored is certainly not his intended score; Only the Intrada release presents that. The film was edited so much after scoring that you could never line up his intended score with the final film - the timing of every scene is completely different.

Ok, "intended" is the wrong word, but you understand what I mean. But like with many score projects, having all the elements, no matter how big or famous a film it is, is never a foregone conclusion.

[Corellian2019 386]

The Alien iso scored is certainly not his intended score; Only the Intrada release presents that. The film was edited so much after scoring that you could never line up his intended score with the final film - the timing of every scene is completely different.

Well, remember that the Alien 20th anniversary DVD had two isolated music tracks, one of them being the original score before it was edited, and the other presented music cues closer to the film's timing as well as alternate cues.

Having said that, I'd still love to see The Omen on Blu-ray, and examine the isolated score as well.

[Datameister 2,042]

Whew...finally finished! For what it's worth...

Analysis by Joe Cardello (Datameister)

Themes

I've tried to keep the nomenclature close to Jason's, but in some cases, my interpretation of what is or isn't a theme (and of what the themes represent) simply varies too much. In any case, note that there are numerous smaller motifs that get used in minor capacities throughout the score; the following themes are simply the ones that are used commonly.

Main Theme - This is the primary basis of the film's musical identity, even as early as the opening logos. This wandering melody makes use of a i-iv-♭II-V chord progression (sometimes using VI as the second chord instead). It often takes on a quiet, pensive feel, but it's equally well-suited for heroic fanfares. This is easily the most recognizable musical idea in the film, due to both its memorable melody and the fact that it is used very frequently in the score. It doesn't seem to have any strict leitmotivic meanings: at various points in the score, it stands for James Kirk, the Enterprise, and its entire crew.

Main Ostinato - This scurrying minor-key motif comprises six notes and is most often given to the strings. It's closely associated with the main theme, but its affect is less thoughtful and more energetic. It often shows up in the film's action music and as a way of building tension around the main theme. There's also a common motif that starts with the tonic repeating and then moves into a variation on the main ostinato; this is known as the secondary ostinato in Jason's analysis.

Action Motif - Also known as the B theme, this is a heavy, industrious motif of eight notes that repeats once with a slight modification. This is typically used during scenes when the crew of the Enterprise is hard at work, and it's most often played by the trombones.

Cadets' Theme - This theme is based on a five-note musical idea involving an alternation between the dominant and the subdominant. Numerous cues use it in counterpoint to the main theme, but it's also heard on its own, seeming to signify the efforts of the young Starfleet cadets who save the day in the film.

Nero's Theme - This plodding, malevolent theme makes it immediately clear that Nero is one bad dude. The trombones most often blare these seven notes with a relatively slow tempo. Curiously, although the theme is used frequently in the first half of the film, it's dropped altogether in the second half, making one last (tracked) appearance in the credits.

Nero's Motif - In its most common form, this motif is just three adjacent dissonances that alternate back and forth nervously, often when Nero's actual theme has recently played or is about to play. However, there's also a slower variation used twice in the score.

Spock's Theme - Of all the themes I've encountered in this film, his was the most...human. Though Spock's theme has a certain solemnity to it, it manages to remind us that this is a man who can be "emotionally compromised", who really cares. Giacchino frequently uses the erhu, a two-stringed Chinese instrument played with a bow, for Spock's theme and other material related to the character, but there are also numerous instances of standard orchestral instruments being given the melody. This theme's one downside: its first three chords give it a strong initial resemblance to the theme Giacchino wrote for Juliet in Lost.

Vulcan Theme - Jason's analysis refers to this as Spock Prime's theme, but I've elected to use a different name. Although this sorrowful theme has a clear leitmotivic purpose in the score, it's a little difficult to put into words: it basically has to do with the destruction of Vulcan, Spock's hidden heartbreak about the loss of his mother and planet, and other elements that emotionally tie into the central conflict of the film.

Finale Theme - In the final scenes involving Spock's attempt to destroy the Narada, Giacchino introduces this new minor-key theme that really evokes the mounting danger. It switches characteristically from quarter notes to quarter note triplets at the end of the phrase. Choir frequently backs up the orchestra, particularly in the film.

Track Listing

1. Star Trek - 1:01

2. Narada Nowhere - 0:24

3. Bye, George - 2:06

4. Ceasefire Negotiations - 1:00

5. Nailin' the Kelvin - Labor of Love - Main Title - 5:37

6. Growing Up Green-Blooded - 1:38

7. Hella Bar Talk - 1:53

8. The Reeling McCoy - 0:47

9. Jellyfishing - 1:08

10. Kirk's Trial - 0:20

11. Distress Call - Enterprising Young Men - 6:23

12. Punch It - 0:17

13. Jimmune Reaction - 0:49

14. Fire Drill - 0:30

15. Nyota Good Idea - 1:04

16. Nero Sighted - 3:23

17. The Drill Team - 3:27

18. The Jump - 1:01

19. Fighting Fire With Fire - 3:02

20. The Planet Has Minutes - 0:54

21. Chekov's Rapture - 1:23

22. Aspockalypse Now - 1:19

23. Lament for Vulcan - 1:49

24. Turbolift of Spirits - 1:06

25. Romulinterrogation - 2:27

26. This is Heavy, Spock - 1:17

27. Kobayashi Marooned - 0:37

28. Always a Bigger Fish - 1:21

29. Spock Prime Time - 0:45

30. Nice to Meld You - 3:14

31. Jim's Father - 0:34

32. Into the Outpost - 0:28

33. Starfleet Regulation 619 - 1:57

34. Scotty Goes For a Swim - 1:00

35. Come With Me, Cupcake - 0:38

36. Vulcanic Eruption - 1:29

37. Emotionally Compromised - 1:00

38. Child of Two Worlds - 1:17

39. Getting to Know Each Other - 0:55

40. Jim Runs a Titan Ship - 2:00

41. Run and Shoot Offense - 2:05

42. Does It Still McFly - 2:03

43. Nero Death Experience - 5:39

44. Nero Fiddles. Narada Burns - 2:34

45. Ejecting the Core - 0:55

46. Back From Black - 1:00

47. That New Car Smell - 4:46

48. To Boldly Go - End Credits - 10:01

TOTAL TIME: 1:32:02

Bonus Tracks

49. Star Trek (Raw) - 0:57

50. Hella Bar Talk (Film Version) - 1:56

51. Nice to Meld You (Film Version) - 2:56

52. Does It Still McFly (Choir Overdub) - 0:29

53. Nero Fiddles, Narada Burns (Choir Only) - 0:14

54. Back from Black (Choir Overdub) - 0:40

55. To Boldly Go - End Credits (Voiceover) - 10:01

GRAND TOTAL TIME: 1:49:12

Track-by-Track Breakdown

1. Star Trek - 1:01 - OST track 1

Over the opening logos, the main theme is played solemnly by the horns with ambient synth accompaniment. The main ostinato then takes over as the ensemble crescendos menacingly through the Bad Robot logo, culminating in a horn rip that leads into the first shot of the film itself.

2. Narada Nowhere - 0:24 - unreleased

In the film, the Narada's appearance is scored with tracked material from "Nero Sighted." Then this short cue begins as it locks weapons on the Kelvin and proceeds to fire heavily. We're introduced to a frenetic motif in the strings, backed up by militaristic percussion. The motif repeats until the cue reaches an abrupt end.

3. Bye, George - 2:06 - unreleased

At first, this cue is dominated by eerie string chords with bursts of percussion as Nero's right-hand man, Ayel, tells Captain Robau to fly over and negotiate a ceasefire. Then Robau gives his final instructions to George Kirk in the corridors of the Kelvin. The motif from the previous cue returns, this time played more slowly and deliberately, with snare drum figuring prominently between the phrases. (This is the last time this motif is heard in the score, sadly.) Muted brass introduces a sort of mini-theme for Nero, heard only here and in "Nero Sighted." Things turn weird and ominous as the shuttlecraft approaches the Narada before quieting down as Robau enters the ship.

4. Ceasefire Negotiations - 1:00 - unreleased

Sinister strings quietly underscore much of the scene in which Ayel interrogates Robau on Nero's bridge. The music dies away as Robau tells them the stardate.

5. Nailin' the Kelvin - Labor of Love - Main Title - 5:37 - OST tracks 2, 3, 5

Nero kills Robau, launching the entire orchestra into a frenzy. As the Narada mercilessly opens fire on the Kelvin, Nero's theme is heard for the first (non-tracked) time, complete with tambourine and trilling woodwinds. The trumpets simultaneously introduce a motif heard extensively and exclusively in this cue. This motif consists of four ascending notes in the second half of each measure, and it really conveys the chaos of the battle. George Kirk starts evacuating the ship, and as his wife, Winona, is shown, the music hints at the melody of the upcoming "Labor of Love." Moments later, the main theme is also heard in a slow and strained form as he tries to get her to a shuttle. The ascending motif returns, followed by two more statements of the main theme as Winona boards her shuttle and leaves without George.

Although "Labor of Love" is presented as a separate track on the album, the cue was clearly written to be edited so that "Nailin' the Kelvin" flows right into it, as heard in the film. The two cues overlap at a quiet, sustained note in the strings. Then "Labor of Love" begins a gentle, emotional theme of its own that constitutes most of the cue. It's a bittersweet melody - an unusually long one, by Giacchino's standards - that conveys all the love, tragedy, and bravery in the scene. Winona realizes George is sacrificing himself and gives birth on the shuttle. Giacchino really tugs at the heartstrings as they name the infant Jim and the Kelvin rams the Narada. On the album, the cue fades away with a high, relatively short D in the violins. The film version is slightly different - the D lasts longer, with a chord swelling briefly in a lower register. This was most likely the way it was actually recorded.

In the final cut of the film, the main title sequence is scored with material tracked from "Enterprising Young Men" (see below). The initial build-up is shortened, the second half of the big statement of the main theme is omitted, and it then skips to a shortened version of the punctuated rhythm at the end of the cue.

6. Growing Up Green-Blooded - 1:38 - unreleased

We briefly hear erhu for the first time. As the film jumps from Spock's childhood to his early adulthood, the harp and synthesizer introduce his theme, joined shortly thereafter by the erhu.

7. Hella Bar Talk - 1:53 - OST track 4

A sustained synth note leads into statements of the main theme while Jim ponders enlisting in Starfleet. For a while, Giacchino favors a relatively dark string color, but as Jim gazes at the Enterprise under construction, the violins begin alternating between two higher pitches; in the album version, the main theme is also heard as a horn solo beneath this. The next day, Jim shows up at the shipyard while the main theme plays yet again, this time powered by a distinctly cool drum groove. (There's even more percussion heard in the film mix.) The score then fades away as Jim boards his shuttle.

8. The Reeling McCoy - 0:47 - unreleased

Jim and Bones introduce themselves after starting a conversation on the shuttle. The cue that plays may be short, but it's an exciting one. It quickly builds through alternations between two major chords with a pedal tone, then reaches a climax as the first four notes of Alexander Courage's original series theme song are heard. As the shuttle launches, the cues finishes off with a big crescendo.

9. Jellyfishing - 1:08 - unreleased

Nero's theme is heard quietly in the low strings. As Spock emerges from the black hole, Giacchino presents a brassy variation on the short, dissonant motif for Nero. Instead of alternating quickly between the three notes, he gives each one ample time to resonate. The cue ends abruptly as the film returns to Starfleet on Earth.

10. Kirk's Trial - 0:20 - unreleased

This very short cue comprises a single plucked note on the harp and a sustained note in the violins.

11. Distress Call - Enterprising Young Men - 6:23 - unreleased, OST track 5

A soft rendition of the main theme underscores the end of Kirk's trial, but things turn slightly ominous with a slow statement of the main ostinato as the distress call from Vulcan arrives. In the hangar, the cadets' theme is introduced in the horns with a sort of militaristic determination, accompanied by a 4/4 ostinato that's unique to this cue. The music softens and then turns rather sad with the main theme as Jim is nearly left behind, but as McCoy decides to help him, the trumpets crescendo excitingly and segue into more material based on the aforementioned ostinato. This unexpectedly subsides to make way for an exceedingly cute statement of Spock's theme on English horn as Uhura demands that he change her assignment. After a brief martial passage, Giacchino introduces a rather gently playful melody that's much later reprised in "Jim Runs a Titan Ship." This melody builds as Bones manages to get Kirk aboard the shuttle, with the final bars containing a trumpet variation on Courage's original fanfare.

The final note of "Distress Call" transitions into "Enterprising Young Men", a cue that is perhaps the score's greatest highlight. It's essentially one big development of the main theme and all the smaller motifs that surround it. It starts with the main ostinato, which scurries along in an almost mischievous way as the shuttle leaves Earth. As this ostinato crescendos, a common variation on it is heard, as well as a simple four-note motif that's reprised in the credits and that's played here by flutter-tonguing flutes. As the shuttle approaches Starfleet, a rhythmic motif that's unique to this cue (and the credits) thunders percussively through the cosmos, followed by a huge, sweeping statement of the main theme that scores the first "hero" shot of the new Enterprise. Onboard, the action motif is heard for the first time, then again in counterpoint to part of Spock's theme. That rhythmic motif returns briefly, followed by another statement of the main theme as Spock arrives on the bridge. The action motif then returns contrapuntally with the main theme, building up to bigger statements of the main theme with the cadets' theme playing above. The cue is finally rounded out with loud statements of that rhythmic motif and a series of punctuated blasts as the fleet surrounding the Enterprise warps toward Vulcan.

12. Punch It - 0:17 - unreleased

This cue is just a brief reprise of material from "Enterpising Young Men" while the Enterprise finally goes to warp. The main ostinato builds very quickly into a loud variation and then subsides into a long, low note.

13. Jimmune Reaction - 0:49 - unreleased

Jim's immune system reacts adversely to Dr. McCoy's unconventional way of getting him aboard, but he's more concerned with preventing the ship from falling victim to the same fate as the Kelvin. The first two notes of the main ostinato are repeated a few times before a tense alternation between two notes begins. Shots of Kirk running through the halls are then scored with tracked passages from "Run and Shoot Offense." (The pitch has been changed slightly.) After the tracked material, the first two notes of the main ostinato begin playing again, and the cue ends with a crescendo of string tremolos and brass as McCoy annoys Jim with yet another injection.

14. Fire Drill - 0:30 - unreleased

Nero's drill begins to dig into Vulcan. The cue starts with agitated strings and then delivers a bold statement of Nero's theme.

15. Nyota Good Idea - 1:04 - unreleased

Uhura confirms Jim's theory that the ship is headed into a trap. Some subdued, militaristic material starts this cue, followed by a bit of ambient percussion that's sometimes used for Nero. The final moments grow strong and dissonant as the Enterprise prepares to arrive at Vulcan.

16. Nero Sighted - 3:23 - OST track 6

In the film, this sinister cue is preceded by a very eerie, very dissonant choral crescendo that was omitted from the album version. Instead, a tam-tam roll with hard beaters leads into the introduction of a vicious little motif in the trombones. The mini-theme for Nero heard elsewhere only in "Bye, George" returns on muted trumpets. Then Nero's motif is heard in its most straightforward form thus far. Moments later, Nero's theme hits HARD and the trombones really go at it, with a triplet-based rhythm beneath. A percussive little ditty follows. Unfortunately, neither of these were used in the film. Nero's theme then plays more quietly eerily in the strings, and some more of that ambient percussion is heard. The strings remain quiet and unsettling until they start to swell with a hint of the main theme in the low brass. Finally, Nero's theme plods along yet again, fading out into more swirls of ambient percussion.

17. The Drill Team - 3:27 - unreleased

The start of this track (which most likely comprises several separately recorded cues) is a harsh statement of Nero's theme, a very similar version of which can also be heard in the credits. (Strangely, this is the last apppearance of Nero's theme in the score.) It includes the statement of his motif as the red matter is prepared. The film version is somewhat different from that heard in the credits, though, since the film version does not contain the virulent swell of chorus and brass. A new variation on the main ostinato follows the consequently not-quite-as-big crescendo as the folks on board the Enterprise get ready to send Pike over while covertly shutting down the drill. Then Giacchino does an interesting thing: he gives Spock's theme to the trumpets, but uses the main theme's chord progression instead and continues using the main ostinato beneath. This is followed by a more straightforward string statement of the main theme and then the return of the main ostinato variation, louder and with percussion. The brass briefly contribute a melody that's somehow reminiscent of TOS, too. While Bones is officially given the duty of chief medical officer, the chord progression from "The Reeling McCoy" comes back momentarily, but it is quickly replaced by the action motif in the trombones. The score turns weird and creepy as the shuttle carries Pike toward the Narada, but this doesn't last long, either. Instead, we're treated to what very well may be the greatest 40 seconds of unreleased material in the entire score. The orchestra starts grooving in 6/8 or 12/8, amping us up for the imminent space jump. The low brass even delivers a few fragments of the main theme. At last, the orchestra grows even louder, culminating in a tam-tam hit just before the big jump.

18. The Jump - 1:01 - unreleased

The big space jump starts with a brilliant moment of silence, but this cue kicks in after a bit. Initially, it sounds a lot like the end of "Jellyfishing." It's a similar statement of Nero's motif, slowed down and made less dissonant. The rest of the cue is very similar to two passages from "Nero Death Experience", first offering lots of repetitions of the main ostinato and then introducing a 12-note motif that will later be reprised as Spock rams the Jellyfish into the Narada. The cue ends suddenly as Olsen reaches the drill platform and a fiery demise.

19. Fighting Fire With Fire - 3:02 - unreleased

This cue scores the fight on the drill platform. Dissonant strings and brass open the cue, followed by a string passage that slithers upward into a cool little beat in the the percussion. Then Giacchino introduces a theme or motif that's unique to this cue - it consists of three repeated brass phrases followed by a longer descending one, and something about it feels slightly reminiscent of material from TOS. In any case, it does a nice job of evoking the danger of the high-altitude fight. After a bit of that, the main ostinato is briefly heard with similar orchestration and rhythm, then again after some tense and non-thematic music. As Sulu takes his helmet off and prepares to join Kirk in combat, the main theme plays heroically. Then the aforementioned theme for this cue returns, again leading into a variation of the main ostinato. Non-thematic action music continues in the same plodding, threatening vein as the fight draws to a close and the Romulans meet their deaths. After punctuated tutti chords, the main theme plays more quietly. The destruction of the drill mechanism is scored with the main ostinato, which crescendos into the end of the cue.

20. The Planet Has Minutes - 0:54 - unreleased

A long string note constitutes the start of this cue, which then grows into anxiously hopeful material, a couple of notes on the erhu, and a horn variation on Spock's theme.

21. Chekov's Rapture - 1:23 - unreleased

This cue largely focuses on variations on the main ostinato. It's an especially intense piece of music, matching the frantic pace of Chekov's attempt to lock the transporter beam on Kirk and Sulu as they plummet toward the disintegrating surface of Vulcan. The ending is a particularly edge-of-your-seat moment, with four orchestral blasts followed by a quieter perfect fifth in the low strings as Chekov's brilliance pays off and Kirk and Sulu land on the transporter pad.

22. Aspockalypse Now - 1:19 - unreleased

Timpani and choir accompany the strings as Spock materializes in the devastated landscape of Vulcan and rushes to rescue the high council from the katric ark. The score takes on a sort of hopeful desperation as they make their way out to the ledge where the Enterprise will beam them up, but things grow more and more agitated as the planet crumbles and Spock's mother falls to her death just before the transporter beam whisks them away.

23. Lament for Vulcan - 1:49 - unreleased

A supremely sad cue. On the transporter pad, Spock stares unbelieving at the space where his mother should have materialized with them, while strings quietly underscore the tragedy. Outside, Vulcan crumbles and implodes into the black hole at its center while the music swells into the very first statement of the Vulcan theme, expressing the sorrow of the planet's destruction. A long note in the violins is heard softly beneath the start of Spock's acting captain's log. Then the erhu joins the orchestra with a pained, non-thematic melody, almost as a eulogy for the countless lives and landscapes lost. A winding string passage brings the cue to a close.

24. Turbolift of Spirits - 1:06 - unreleased

Uhura joins Spock in the elevator and tries to comfort him. The score is very soft and very tender, somewhat reminiscent of Giacchino's work on Lost. No themes are heard - just a series of chords for strings, harp, and quiet synthesizer.

25. Romulinterrogation - 2:27 - unreleased

Perhaps surprisingly, this somewhat longer cue does not make use of any of the melodic material associated with Nero. The Romulan tells his story to the captive Pike over string passages that are both sad and sinister. The blurry percussion sounds present in several earlier cues are heard again, but then the music becomes jittery and menacing as Nero prepares to place the Centaurian slug in Captain Pike.

26. This is Heavy, Spock - 1:17 - unreleased

While Spock explains his time travel theory to the crew (and the audience), the strings unobtrusively alternate between two notes. A bigger crescendo culminates in a single stopped note in the horns as Spock subdues the combative Kirk. The cue ends with a unique and quite interesting statement of the main theme as Jim is jettisoned into space.

27. Kobayashi Marooned - 0:37 - unreleased

A non-thematic melody grows in the horns, strings, and upper woodwinds as Kirk surveys the barren, icy desolation of Delta Vega, climaxing with the low brass descending into an final austere note, along with high harmonics in the violins.

28. Always a Bigger Fish - 1:21 - unreleased

This entire cue consists of loud, chaotic, non-theme-based action music while Jim is chased through the snow by two bizarre creatures until another man appears and waves a torch at the second beast, scaring it off.

29. Spock Prime Time - 0:45 - unreleased

Spock's theme is heard straightforwardly on erhu as the elder Spock turns around and reveals his identity to a bemused Kirk. The second phrase of the theme is heard on horn instead of erhu. The cue then cuts out before Kirk's humorously skeptical exclamation.

30. Nice to Meld You - 3:14 - OST track 7

This cue was mostly dropped in the film (see film version below). However, it was presented in its entirety on the album, which is fortunate, because it adds a new layer of thematic depth to the score. Giacchino wrote two main melodic ideas for this cue, one of which is later reprised during the film's other, much shorter mind meld in "Run and Shoot Offense." It's a six-note ostinato (with a four-note variation) that winds quickly between adjacent pitches and is heard through much of the cue. The second melody, introduced a few seconds into the cue, uses two repetitions of the same four notes, but the chord changes the second time. Together, these convey the tension of Spock Prime's vain attempts to save Romulus and his subsequent suffering at the hands of Nero. Toward the end of the cue, the second melodic idea is heard alone; the rest of the cue is all heard in the film. The Vulcan theme then returns, arranged similarly to its first statement during Vulcan's destruction.

31. Jim's Father - 0:34 - unreleased

After a single synth note, the strings hint quietly at the main theme.

32. Into the Outpost - 0:28 - unreleased

As Jim and Spock Prime are led into the Federation outpost, a playful but rather eerie melody is heard in the flutes and bells. The cue ends with a slight crescendo as they reach Scotty.

33. Starfleet Regulation 619 - 1:57 - unreleased

A soft string intro leads to fragments of Spock's theme on erhu. As Kirk and Scotty prepare to leave, the main theme is heard slowly and rather sadly. Then the music builds excitingly into a big horn statement of Spock's theme as he tells them to live long and prosper, and the music fades out with a bit of tinkling mark tree.

34. Scotty Goes For a Swim - 1:00 - unreleased

Kirk realizes that Mr. Scott has been beamed into the pipes onboard the Enterprise and has to work quickly to let him out. Giacchino scored the beginning of this scene with some nervous action music, but the tone becomes ominous and frantic as Kirk sees that Scotty is heading for a very dangerous propeller. The trumpets whine the first phrase of the main theme and, like many cues in this score, the cue cuts out after a crescendo.

35. Come With Me, Cupcake - 0:38 - unreleased

The vibraphone suggests a bit of the main ostinato before a percussion-heavy statement of the main theme. Kirk and Scotty are apprehended by the security team, precipitating yet another final crescendo.

36. Vulcanic Eruption - 1:29 - unreleased

Jim acts on the elder Spock's advice and attempts to elicit an emotional response from the Vulcan's younger counterpart. The cue that scores the scene is simple but effective, and bears a strong resemblance to "This is Heavy, Spock." The strings crescendo with the same tremolos and simple two-note alternating motif, but instead of ending with a stopped horn note, the crescendo abruptly climaxes and dies away as Spock regains control of himself and stops choking Jim.

37. Emotionally Compromised - 1:00 - unreleased

Spock leaves the bridge, having realized that he is emotionally compromised and unfit for command. A very slow and subtle statement of the Vulcan theme plays tenderly in the strings.

38. Child of Two Worlds - 1:17 - unreleased

The erhu opens the cue with material based on Spock's theme before moving into a more straightforward statement of it during a poignant conversation between him and Sarek.

39. Getting to Know Each Other - 0:55 - unreleased

A plan develops - Kirk and Spock will beam over to the Narada while the Enterprise is hidden behind Titan. Giacchino first breaks up the main ostinato in the strings, marimba, and snare drum, then includes the main theme quietly. The main ostinato surges into a final blast of trombones and percussion.

40. Jim Runs a Titan Ship - 2:00 - unreleased

After a long absence from the score, the cadets' theme returns to herald the Enterprise's arrival behind Titan with militaristic might. The main theme enters in loud counterpoint (à la "Enterprising Young Men") as the ship rises above the thick clouds. Onboard, a distant cousin of the main ostinato is followed by throbbing synths and steady snare drum. Above this, the warm melody from the end of "Distress Call" is reprised on strings. Then comes a solemn statement of the main theme and a covert fragment of Spock's theme on vibraphone as he and Kirk share an awkward moment on the transporter pad. Drumrolls lead into a string and brass variation on the main theme over staccato strings, but the music becomes unsettling as Kirk and Spock begin to dematerialize.

41. Run and Shoot Offense - 2:05 - OST track 8

The start of this cue was dropped in the film, but it can be heard in its entirety on the original soundtrack. After a dissonant swell of strings, Giacchino introduces a brassy action theme in 9/8 meter, which is joined by shrieking woodwinds and then tensely bowed major seconds in the strings. The score quiets down for the main theme to be played seriously on clarinet. As Spock performs a mind meld with a fallen Romulan, Giacchino assigns the Vulcan theme to the erhu, which is usually reserved for Spock's theme, and all the while, the first six-note ostinato from "Nice to Meld You" returns as a sort of mind meld motif. Then the column of fire blasts from the drill into the San Francisco Bay, and the Vulcan theme plays again with perilous orchestral strength, hinting that the Earth may suffer the same fate. The end of the cue drives forward with some more 9/8 action music that uses minor seconds much like the beginning of the cue.

42. Does It Still McFly - 2:03 - OST track 9

The first two notes of the Vulcan theme grow stronger and stronger as Kirk and Spock approach the Jellyfish, starting with the violins and ascending an octave as the trumpets join. Within the small ship, the music becomes lighter; those same two notes continue on flute, then bassoon, before the flute comes back for part of the main theme. Spock's theme is heard warmly on strings as the two talk about their plan, followed by the main ostinato and part of the main theme. But the comparitively lighthearted tone changes and Giacchino introduces a new finale theme that continues throughout the final battle scenes, this time using string triplets, low brass, and xylophone. In the film, the choir also sings this melody, but that overdub was not used in the album.

43. Nero Death Experience - 5:39 - OST track 10

This cue was edited significantly in the film; the sequence was ostensibly re-cut after the scoring, changing the order of events. In its original form, it starts with an eerily growing roar of strings and choir that is joined by dissonant fortepiano brass crescendos. The finale theme returns in the brass, with the choir contributing significantly over shots of the Jellyfish in space. Nero's motif makes a brief appearance in the strings as well. Then the variation on the main ostinato from "The Jump" is heard again, nearly note-for-note, until the first four notes of Spock's theme soar triumphantly in the strings, brass, and choir. The finale theme is heard again. A variety of dissonant passages ensue, including one that seemingly mimics Dukas's "The Sorceror's Apprentice." The finale theme plays yet again, growing quite loud with the choir, and then again after the brass and strings slither through some complicated ascending runs. Suddenly, the music dies down; the violins, trumpets, horns, and choral voices deliver an emotional final statement of the Vulcan theme. Big, climactic rhythms reverberate through the whole ensemble, modulating into a heroic statement of the main theme, complete with choir. (In the film, this statement was replaced with the big one from "Enterprising Young Men", but with this cue's choir overdub still in place.) A rather aleatoric crescendo of dissonances cuts out abruptly, followed by several seconds of silence for the moment when Ayel has Kirk by the throat. As Kirk grabs his gun and shoots the Romulan, the chord progression of the main theme is heard as string arpeggios with the choir singing longer chords beneath. Some non-thematic action music (with the first three chords of the main theme quietly thrown in at one point) leads into the cue's final excellent moments. The 12-note motif from "The Jump" returns climactically, with the melody of "Labor of Love' intensifying the parallel between George Kirk's sacrifice and the one Spock appears to be making. But at the last possible moment before the red-matter-bearing Jellyfish crashes into the Narada, Spock is beamed to the Enterprise over an unexpected statement of the Courage theme's four-note introduction.

44. Nero Fiddles. Narada Burns - 2:34 - OST track 11

A snare drum roll kicks off the cue. The action motif musically applauds the protagonists' success over the first two chords of Spock's theme, and the trumpets and horns joyfully play part of the main theme. In the film, the next passage is dialed out while the red matter begins to coalesce into a black hole in the Narada, but it can be heard on the album. The finale theme drifts through the choir and orchestra almost dreamily, becoming more and more intense before returning to music used in the film. The tone is quietly martial till a string statement of the main theme is used for a brief exchange between Kirk and Spock. As Nero refuses their help, his ambient percussion noises are heard and the low brass echoes the main theme evilly. The Enterprise fires on Nero's ship, which begins to crumble into the black hole. The cellos take the cadets' theme while the violins and choir soar above with the main theme. (In the film, the sound effects mostly cut out along with the orchestra, allowing the choral overdub to temporarily dominate the soundscape of the film. It's a striking moment.) The main theme crescendos into an increasingly ominous and dissonant ending as the crew realizes that the Enterprise is being sucked into the black hole, as well.

45. Ejecting the Core - 0:55 - unreleased

This last fully unreleased cue is one of the score's most frantic, relying heavily on edgy low brass and upward string scamperings to accentuate the urgency of Scotty's attempt to propel the ship out of the black hole. The choir lends even greater weight to the final seconds.

46. Back From Black - 1:00 - OST track 12

An unused swell of string tremolos and brass was replaced in the film with a much shorter drumroll. The main theme carries us through most of the rest of the cue, clearly proclaiming that the crew has succeeded and is now safe with Nero dead and the black hole dwindling into the distance. In the film, a sublime choral overdub is also included.

47. That New Car Smell - 4:46 - OST track 13

Synth and harp quietly start the cue, and a gorgeous statement of Spock's theme on erhu is used for the conversation between him and his elder self. The main theme enters with a slow and hopeful tone in the woodwinds and strings. It then passes to solo trumpet for Kirk's promotion to captain. At this point, Giacchino introduces a theme of sorts that's used throughout the second half of the cue - it's an optimistic melody that hints at the adventures to come and bears some resemblance to the material in "The Reeling McCoy" and a brief moment from "The Drill Team", as well as Goldmith's "Ilia's Theme." The main theme is given a rousing moment to shine as Jim is applauded by his fellow Starfleet officers. As Spock looks on, the optimistic theme is heard on erhu, although the film drops the erhu overdub and only uses the underlying string parts. At last, the time has come for Jim and his crew to take the Enterprise out as their own, and the music ramps up to a trumpet statement of the main theme with the main ostinato beneath. The main theme grows in the horns, passes the optimistic theme back to the trumpet and strings, and leads back to the main theme in the strings with the cadets' theme high on piccolo. The main theme grows huge for the last time in the score proper, and the cue cuts out with big tutti statements of the main ostinato. (In the film, these last moments were replaced with a statement of the main theme from the credits.)

48. To Boldly Go - End Credits - 10:01 - OST tracks 14 & 15 (with unreleased final crescendo)

The first four notes of Alexander Courage's theme for the original series play very straightforwardly as Leonard Nimoy provides the famous "Space, the final frontier..." over shots of the Enterprise embarking into space. The Courage fanfare then enters on horn and trumpet, but with a twist - the rhythm has been altered so that a 3/4 version of the main theme can be played by the strings and trombones. As the Nimoy voiceover draws to a close, the Enterpise warps away, ending the film itself and launching us into a very exciting end credits suite. For the very first time in the score, the Courage theme itself is given a broad, slightly modernized treatment. After a few slightly modified chords near the end of the melody, the violins scurry with variations on the main ostinato over a trombone reprise of the unique four-note motif from the beginning of "Enterprising Young Men." Then the Courage theme plays again, this time slightly more subdued. The main ostinato/four-note motif combo is repeated even more loudly, and then Giacchino has some fun by giving the main theme to the horns (and later trumpets) while the violins play lyrical variations on the Courage theme. Some characteristic repeated trumpet chords transition into a growing main ostinato passage. Suddenly, the music dies away, and the Courage fanfare (with the dotted eighth note figure replaced with simple eighth notes) builds into a third and final statement of the Courage theme, even bigger than its predecessors, with full choral accompaniment. As this fades away, the first section of the end credits ends.

The second section of the end credits develops Spock's theme. At first, we hear it gently on erhu and orchestral strings. (Incidentally, this is the last time erhu is used in the score.) Some sul ponticello tremolos in the strings momentarily lend a less comforting tone to the music, but then Spock's theme returns in what is surely its most gorgeous statement, soaring in the orchestra and choir, capturing the most human heart of the character. More tremolos slide downward into the main ostinato, which mounts percussively into some unique and energetic explorations of Spock's theme, with the main ostinato making frequent interjections between the phrases. Some original material follows, still with hints of the main ostinato, and a major-key fragment of the main theme enters in the horns at a climactic moment. But an eerie string chord quietly takes us out of the section based on Spock's theme and into a statement of Nero's theme (and motif) that is virtually identical to the beginning of "The Drill Team." The last moments differ with a rush of choral and orchestral dissonance that eases the transition into the final section of the credits.

The final three or four minutes of the credits are primarily based on the main theme and the various minor motifs that are related to it. In the beginning, there's a strong resemblance to "Enterprising Young Men" - the main ostinato crescendos into big tutti rhythms with brief but prominent percussion features, but unlike in the former cue, this passage is broken up by loud, unexpected variations on the main ostinato, à la the end of "Punch It." When the music arrives at the main theme, the affect is still pretty similar, but the horns are given the melody, and the choir can be heard providing harmony. The second phrase brings back the trumpets and high violins, increasing the resemblance to "Enterprising Young Men." Then Giacchino goes off on something of a musical tangent with a phrase that has only a minor presence in "Enterprising Young Men", developing it with violins and trombones before bringing in the horns and choir. Then the action motif returns in one of its most forceful renditions. As it quiets down, the cadets' theme plays over it, becoming somewhat lyrical before the main theme enters loudly beneath it. There's a broadening progression of chords in the strings and brass, and then the main theme plays one last time, with the last three notes of each measure played as quarter note triplets. Descending phrases based around a dominant seventh chord diminuendo into the first four notes of the Courage theme softly on bells. The fanfare plays on horn and trumpet over a single evocative synth note. At last, the strings scurry upward into a tutti statement of the main ostinato, which rounds out the score as heard on the album. In the film, there's an immense crescendo on the tonic immediately after this.

Bonus Tracks

49. Star Trek (Raw) - 0:57

This is just "Star Trek" taken from the rear channels of the DVD. The rather prominent synths weren't mixed into the rear channels, which makes for an interesting listen. The cue sounds much more barren without the deep synths.

50. Hella Bar Talk (Film Version) - 1:56

As described above, the main theme horn solo is missing, leaving only the strings that accompany it. There is also some deeper percussion included when the drum beats begin.

51. Nice to Meld You (Film Version) - 2:56

This seems to be a true alternate cue, or at least an edited Frankenstein's monster of dissonant inserts. The music is ambient and almost completely devoid of real structure. Lots of synths, choir, and brassy crescendos. The original cue heard on the album comes in near the end.

52. Does It Still McFly (Choir Overdub) - 0:29

The finale theme is accompanied by choir singing the melody wordlessly.

53. Nero Fiddles, Narada Burns (Choir Only) - 0:14

The orchestra cuts out in the film, providing interesting (and touching!) insight into what the choir overdubs sound like on their own.

54. Back from Black (Choir Overdub) - 0:40

The main theme is accompanied by gorgeous choir in the film mix.

55. To Boldly Go - End Credits (Voiceover) - 10:01

I've included this bonus track at the end for the heck of it - it's really just the original track with the Leonard Nimoy voiceover mixed in at the beginning, using the center DVD channel with slight artificial reverb.

[OneBuckFilms 319]

Very, very well done.

[Charlie Brigden 7]

This is all some stellar work.

I cut my edit down quite a bit, as some of the effects were just too intrusive for my liking, however some tracks were too good to let slip even with lots of effects. I also put some pretty boring names to it, as I'm just not a fan of punny track titles. I did some artwork for it, though (and if anyone wants it, I do have it without track titles).

[Datameister 2,042]

Very nice! I'm tempted to try my own...I haven't done many unofficial CD covers, but I do have years of Photoshop experience, including some similar sorts of projects. Could be fun!

And on a side note, I definitely understand about the track titles thing. While I did have fun coming up with some of the puns for my edit, I honestly would probably just stick with boring, straightforward titles if it were my own music.

EDIT: Okay, I think I really do want to do this...only one problem. I don't have the OST jewel case with me, and I won't have access to it for another few weeks. I'd like to be able to use the cover art for reference in making my own. If anyone would happen to be able to point me in the direction of scans, I would be MUCHLY obliged. Naturally, I'll share my results if they're any good.

[Charlie Brigden 7]

The official site has images of the picture from the cover/poster as wallpaper in hi-res. Font used for the secondary text (Music from... etc) is Crillee which can be freely downloaded from around the net.

Here's a big version of the cover: http://img.trekmovie.com/images/st09/st09_sountrack_cvr.jpg

[Datameister 2,042]

Thank you very much! Any luck with the back cover, though?

[Datameister 2,042]

Thanks for the inspiration, Charlie! I'm still working on the inside flap and back cover, but in the mean time, here's my front cover for those who like to have album artwork for iTunes and whatnot.

Full-res (12 cm x 12 cm @ 300 dpi) can be found here.

[Chris.Tilton 0]

25. Romulinterrogation - 2:27 - unreleased

Perhaps surprisingly, this somewhat longer cue does not make use of any of the melodic material associated with Nero. The Romulan tells his story to the captive Pike over string passages that are both sad and sinister. The blurry percussion sounds present in several earlier cues are heard again, but then the music becomes jittery and menacing as Nero prepares to place the Centaurian slug in Captain Pike.

This is the cue that had Nero's theme played by the effects enhanced erhu. Maybe they cut it from the film if it's not there, but I remember looking at this scene, now that you describe it, during recording and hearing Nero's theme played on the erhu.

48. To Boldly Go - End Credits - 10:01 - OST tracks 14 & 15 (with unreleased final crescendo)

But an eerie string chord quietly takes us out of the section based on Spock's theme and into Nero's theme (and motif), tracked from the beginning of "The Drill Team." The last moments are overdubbed with a rush of choral and orchestral dissonance that eases the transition back into material that was written for the end credits.

This wasn't tracked from anything, but was in the End Credits suite. (The whole end credits suite was performed with nothing tracked in). I think it simply came from the track you refer to, which was then modified slightly with choir and then added into the end credits suite.

Bonus Tracks

50. Hella Bar Talk (Film Version) - 1:56

As described above, the main theme horn solo is missing, leaving only the strings that accompany it. There is also some deeper percussion included when the drum beats begin.

The horn theme wasn't there in the original track. They must have added a horn solo as an option when they recorded the new opening of the film. Since it never made it in the film, they must have just decided not to use it, but put it in for the soundtrack. I added the beefier drums to this track (as well as some other cues) much later after the recording sessions.

[OneBuckFilms 319]

Thanks for the info Chris. Love those beefier drums, BTW.

[Datameister 2,042]

Thank you very much for the input, Chris! Can't tell you how great it is to have contact with someone who participated in the process.

This is the cue that had Nero's theme played by the effects enhanced erhu. Maybe they cut it from the film if it's not there, but I remember looking at this scene, now that you describe it, during recording and hearing Nero's theme played on the erhu.

Interesting...yeah, I'm not hearing it at all in the film version, but there is a moment (1:34 in my edit) when Nero's theme would have fit perfectly with what is heard and with what's going on in the scene, so maybe it was just omitted there. Am I right in assuming all the erhu stuff was recorded separately? It's never there in the DVD rear channels.

This wasn't tracked from anything, but was in the End Credits suite. (The whole end credits suite was performed with nothing tracked in). I think it simply came from the track you refer to, which was then modified slightly with choir and then added into the end credits suite.

I don't think I'm understanding what you're saying here - it seems self-contradictory. I assumed that the statement of Nero's theme was recorded for use in the film and then edited into the end credits as well, with the choral modification. My main reason for thinking this is that when I listen to the transition into that passage in the end credits, it sounds like there's an edit. The dissonant strings are dying away, and then the cellos and basses come in with that staccato E, but I don't hear the previous chord resonating at all. In fact, when I cut out everything before that E, it sounds like the totally clean opening of a new cue, exactly as heard in the scene in the film. So was that passage recorded separately for the film and credits, or was that just a single take that was used for both?

The horn theme wasn't there in the original track. They must have added a horn solo as an option when they recorded the new opening of the film. Since it never made it in the film, they must have just decided not to use it, but put it in for the soundtrack. I added the beefier drums to this track (as well as some other cues) much later after the recording sessions.

That makes sense.

[Chris.Tilton 0]

Interesting...yeah, I'm not hearing it at all in the film version, but there is a moment (1:34 in my edit) when Nero's theme would have fit perfectly with what is heard and with what's going on in the scene, so maybe it was just omitted there. Am I right in assuming all the erhu stuff was recorded separately? It's never there in the DVD rear channels.

Well, there ya go. I don't know why it was taken out though. Who knows. The erhu was recorded at the same time as the orchestra, but was in an iso booth so it could have its own completely separate track.

I don't think I'm understanding what you're saying here - it seems self-contradictory. I assumed that the statement of Nero's theme was recorded for use in the film and then edited into the end credits as well, with the choral modification. My main reason for thinking this is that when I listen to the transition into that passage in the end credits, it sounds like there's an edit. The dissonant strings are dying away, and then the cellos and basses come in with that staccato E, but I don't hear the previous chord resonating at all. In fact, when I cut out everything before that E, it sounds like the totally clean opening of a new cue, exactly as heard in the scene in the film. So was that passage recorded separately for the film and credits, or was that just a single take that was used for both?

Sorry, let me clarify. The two statments of Nero's theme, one in the Drill cue, and one in the end credits were two separate recordings. Both were in the written music for their respective cues. They sound almost exactly the same because the written music for the Drill cue was taken and put in the end credits while that was being written and/or constructed. Obviously, the credits cue is long and was recorded in sections. Maybe something got cut off while editing the takes together.

[Datameister 2,042]

Thank you very much for the clarification! I think I'm going to keep the end credits version in the drill cue, simply because it's clean and sounds virtually identical until the choir comes in, but it's good to know that they were recorded separately.

Also, I dig the beefy drums, too. I wouldn't say I necessarily prefer the film mix over the album mix, but I'm very glad to have both.

[Datameister 2,042]

All righty, I think my album artwork might be done! Decided to go crazy and do the disc graphics, too. You can click any of these images for the full-res (300 dpi) versions.

[Chris.Tilton 0]

Was it your intent to make the CD labels look like boobs?

EDIT: Also, I orchestrated the cue where the Enterprise comes out of the clouds and goes after Nero, and there is a huge statement of Nero's theme. Obviously that scene was reedited, and the beginning of it cut, but it wasn't MG's intent to abandon Nero's theme.

[Datameister 2,042]

Those would be some pretty messed up boobs, Chris. The thought never even occurred to me. I'm certainly not the first person to put a planet on a CD label...and as for the red matter, if a perfectly spherical blob of crimson goo with a hole cut out of the middle is what a breast looks like, I think I've managed to develop some pretty serious misconceptions about female anatomy.

EDIT: Very interesting about Nero's theme! Thanks so much for throwing that in there. Pity that got cut...maybe it'll show up in the bonus DVD.

[Charlie Brigden 7]

I like how the Vulcan one looks like an eye. Good work, Joe!

[Chris.Tilton 0]

I like how the Vulcan one looks like an eye. Good work, Joe!

If you don't go the boob route, I think it looks more like a donut.

[Datameister 2,042]

I can definitely see the donut, though. Hey, I wasn't the one who made imploding Vulcan look that way!

[Jay 37,352]

Chris thanks for all your insight, it's excellent. Especially learning that Giacchino didn't abandon Nero's Theme after the Vulcan sequence! It's a shame that cue you mentioned (emerging from the clouds) wasn't on the OST, it's one of the best.

Joe, thanks for posting your analysis and artwork. I haven't had time to read it all yet - haven't had time to do anything on the board in days - but it looks excellent.

I can't wait for the DVD to come out so we can see what other unreleased music is on the bonus disc. One week from today it'll be in stores!

[Wojo 2,453]

Was it your intent to make the CD labels look like boobs?

Maybe disc 2 looks like she spent too long in the sun, but I saw the movie. Disc 1 is definitely an "innie," not an "outtie." That can't be a boob, unless she's got issues.

[OneBuckFilms 319]

Chris thanks for all your insight, it's excellent. Especially learning that Giacchino didn't abandon Nero's Theme after the Vulcan sequence! It's a shame that cue you mentioned (emerging from the clouds) wasn't on the OST, it's one of the best.

Joe, thanks for posting your analysis and artwork. I haven't had time to read it all yet - haven't had time to do anything on the board in days - but it looks excellent.

I can't wait for the DVD to come out so we can see what other unreleased music is on the bonus disc. One week from today it'll be in stores!

I absolutely second that. I was listening to Datameister's edit for that cue, and love the steady snare in there, and that brass statements as the Enterprise begins it's rise is the kind that says "mighty badass starship".

Love those covers, BTW !!!

[Datameister 2,042]

It's an awesome cue, for sure. I have other unreleased favorites, though - "Bye, George", "The Reeling McCoy", "Distress Call", "The Drill Team", "Fighting Fire with Fire", "Lament for Vulcan", and "Starfleet Regulation 619" really ought to have been on the soundtrack, too.

Oh, Chris, would you happen to remember if the big crescendo at the end of the credits in the film was recorded separately? It wasn't included on the album, which doesn't seem to be how Giacchino usually does things - I haven't noticed many edits of that nature in his albums.

[OneBuckFilms 319]

I think you've nailed my taste with your list.

My top 8, in no particular order:

- "Distress Call"

- "The Drill Team"

- "Fighting Fire With Fire"

- "Aspockalypse Now"

- "Lament For Vulcan"

- "There's Always A Bigger Fish"

- "Starfleet Regulation 619"

- "Kirk Runs A Titan Ship"

I think adding these to the existing soundtrack would make for a more fitting presentation of the score.

Of course, the complete score would be stunning, but I'm thinking of a listening experience on one CD.

If only Paramount didn't charge Varese Sarabande an obscene amount of money, which I was told was the reason the score was so short on CD.

[Wojo 2,453]

I'm looking forward to hearing this, either before or after the DVD comes out. It's my only Michael G score, but complete scores to all the Star Trek films are something I really want.

[Chris.Tilton 0]

If only Paramount didn't charge Varese Sarabande an obscene amount of money, which I was told was the reason the score was so short on CD.

That's not Paramount, that's the AFM reuse and licensing fees that cost so much. Also, SAG (for the lack of choir). It is totally dumb in my opinion. The soundtrack market is very small, and the cost of releasing soundtracks ridiculously high compared to the amount of people that are interested in buying them. That's a whole other debate though.

[Charlie Brigden 7]

If only Paramount didn't charge Varese Sarabande an obscene amount of money, which I was told was the reason the score was so short on CD.

That's not Paramount, that's the AFM reuse and licensing fees that cost so much. Also, SAG (for the lack of choir). It is totally dumb in my opinion. The soundtrack market is very small, and the cost of releasing soundtracks ridiculously high compared to the amount of people that are interested in buying them. That's a whole other debate though.

Do you think the future of score releases, due to their role in a niche market, is in digital distribution, like Disney are now doing? I'm clueless on if that would have any effect on reuse/licencing fees, though.

[OneBuckFilms 319]

There is a universal frustration that the Unions really should be taking note of.

I find it interesting that James Horner scores routinely seem to get 70+ minute releases, whereas this score gets a mere 40-50 minutes.

Are the fees so different? Why is this?

[Chris.Tilton 0]

Do you think the future of score releases, due to their role in a niche market, is in digital distribution, like Disney are now doing? I'm clueless on if that would have any effect on reuse/licencing fees, though.

Physical CD releases and Digital Releases are separate licenses, and I am not sure what the difference in licensing fees are, if there is one.

There is a universal frustration that the Unions really should be taking note of.

I find it interesting that James Horner scores routinely seem to get 70+ minute releases, whereas this score gets a mere 40-50 minutes.

Are the fees so different? Why is this?

Well, James Horner frequently records in London, and when you do that, there are no AFM fees. You still have to make an agreement with the studio, however, sometimes the studio owns the label to begin with, so things are a lot cheaper. Horner also has the whole Titanic thing going for him, and having precedence with 70 min albums can be a good bargaining tool. Maybe he has stipulations of soundtrack releases in his contract.

[OneBuckFilms 319]

I know that a LOT of Star Trek and Soundtrack fans want an expanded or complete release of the score.

What would it take, theoretically, to have Varese release a Deluxe Edition CD with some of this additional material? How could we, as a community, make something happen?

I remember expressing my interest in this to Michael Giacchino while at Dark Delicacies, and he stated that Varese were "aware of the issue", which tells me they know we want more.

I love the existing CD release, but I have become more and more convinced that circumstances have led to this score being short-changed, simply due to the obviously great cues that easily deserve to be heard on CD, and yet had to be left off due to expense vs. returns.

So, what can be done? Making fan mixes to approximate an ideal release is fun, and it's great to dissect and enjoy the music, but this score deserves better.

What about a limited edition release, of say 2000 copies, with some of the best unreleased material included?

How about a download-only More Music From Star Trek, with these cues, perhaps on iTunes or Amazon MP3?

[Charlie Brigden 7]

If it meant the music getting out, I'd love a Casino Royale-style MP3 exclusive, despite the quality loss.

[OneBuckFilms 319]

If it meant the music getting out, I'd love a Casino Royale-style MP3 exclusive, despite the quality loss.

I could live with this.